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En la actualidad, la tecnología de realidad virtual ofrece a la industria audiovisual nuevos modos de contar historias. Una de las técnicas que posibilita el registro de imagen en movimiento y su implementación en entornos virtuales 3D es la captura volumétrica, que plantea un acercamiento entre los métodos del cine convencional y los de los discursos audiovisuales de ficción para RV. En este contexto, realizamos una revisión bibliográfica previa, para abordar el estudio de la aplicabilidad de las técnicas de producción tradicionales a las producciones de realidad virtual. Posteriormente diseñamos un modelo de análisis para este tipo de obras, a partir de los conceptos de Heeter (1992), Slater y Wilbur (1997). Este se centra en el efecto presencia como base para la inmersión en el universo diegético de la RV. Los resultados expuestos, se obtienen tras analizar Queerskins: a love story (Szilak y Tsiboulsk, 2018), uno de los primeros cortometrajes de realidad virtual con realización audiovisual volumétrica. Currently, virtual reality technology offers to the audiovisual industry new ways of telling stories. One of the techniques that enables video image recording and its implementation in 3D virtual environments is volumetric capture, which raises an approach between conventional cinema methods and those of fictional audiovisual discourses for VR. In this context, we carry out a previous bibliographical review, to address the study of the applicability of traditional production techniques to virtual reality productions. Subsequently, we designed an analysis model for this type of work, based on the concepts of Heeter (1992), Slater and Wilbur (1997), which is based on the effect of presence as a basis for the immersion of the spectator in the diegetic universe of the VR artworks. The exposed results are obtained after analyzing Queerskins: a love story (Szilak and Tsiboulsk, 2018), one of the first virtual reality short films with volumetric filmmaking.